indieWIRE’s Favorite Films of 2003

indieWIRE's Favorite Films of 2003

“American Splendor” received the most top-10 votes from indieWIREeditors and writers.

It’s the time of year when film fanatics like us get to look back (or perhaps obsess about) the finest films of the last 12 months. indieWIRE staffers and contributors offer our subjective (and wildly varying) lists of 2003’s best films. In tomorrow’s edition, directors, actors, and industry execs will share some of their favorites.

All lists are ranked from 1-10 unless otherwise noted.

indieWIRE STAFF

BRIAN BROOKS, Associate Editor

(in alphabetical order)

“Bend it Like Beckham “

You don’t have to be a Sikh or a girl living in the U.K. to want to shout “You Go Girl!” Inspiring… a great story…and you don’t even have to know who David Beckham is (he plays soccer for Madrid — formerly for Manchester United — and is married to Posh Spice and is totally hot) to love this movie. And uhhhh…If I had a coach like that, I would’ve played “football” too.

“Bus 174”

Unfortunately, life is a complex mess and does not easily break down to good vs. evil as some “leaders” in our world proclaim. There is no way a story like this could’ve been told unless it was true. The drama takes place in Rio de Janeiro, but may as well have been on Pennsylvania Avenue. (Note to Tom DeLay (R-Texas) and friends: Not to be interpreted as an excuse to completely kill public transportation subsidies).

“Capturing the Friedmans”

How could a story like this get so many people in the theaters? Brilliant filmmaking (and a distributor that really knows his shit).

“The Magdalene Sisters “

How did slavery remain an institution into the’90s in a Western nation? By the power of religion. This unbelievable true story won praise and awards at the 2002 Venice Film Festival resulting in official condemnation from the Vatican. That in itself is worth my $10.

“Monster”

Although this list is in alphabetical order, I think this film, based on a true story, is my favorite of the year. Bravo Charlize Theron!!! Not very many people can make a hooker/murderer a sympathetic character. The story is an American tragedy, a sobering reality check to Americans who honestly believe that all “men” are created equal. And is this really Patty Jenkins’ first feature? Daaaaamn girl!

“Raising Victor Vargas”

OK, I was a bit pre-disposed to get into this movie because it takes place in the East Village (which I lovingly call the “E. Vill.”) where I live, and everyone knows how weirdly ‘nationalistic’ New Yorkers can be toward their neighborhoods. Great acting, great direction, and god that grandma is so cute (not to mention the grandsons).

“The Revolution Will Not Be Televised “

War, famine, disease, CNN, World News Tonight…the drama of the world in far off places can typically receive an automatic mental shut down in an era of information overload. But when escapism into reality TV also becomes a big bore, check out this doc! Death to the Oligarchy!!

“Spellbound “

These kids are great spellers, but their true talent is their gift of passion. I don’t cry much in movies, but this doc brought some tears, and at the risk of sounding completely cheesy…they were joyful.

“The Station Agent”

Bravo to the people who had the courage to make this film! Next time one of my friends from overseas tells me that American films are all about stars, special effects, and mega marketing…I’ll say, well…”The Station Agent.”

“The Weather Underground”

This doc is amazing. And I have to say…Rebellion is sexy! On the one hand, I’m completely enthralled by the people in this doc who had such political passion… Such a stark contrast to today’s apathy. The resulting violence, though, was unnerving. But, the live footage of Weatherman Bernadine Dohrn in the ’60s wearing those huge Jackie O. sunglasses telling the “fascist bourgeois pig press” they would have to pay $25 to attend a meeting of their organization was PRICELESS!

The one movie that stood out for me as the best of the year was not evenreleased in theaters, however I was fortunate to see it on film in a movietheater (and then I watched it again recently when it premiered on TV). Thesix-hour “Angels In America,” with performances by Al Pacino, Meryl Streep,Mary Louise Parker, Justin Kirk, among others, and production values thatrival any motion picture made this year, mark it as the unparalleledcinematic achievement of 2003. Ten years ago when writer Tony Kushner’s“Angels” debuted on stage it had a weight and depth that I foundeye-opening. Viewing these mid-’80s characters from today’s vantage point isequally insightful being that we are in a society that has progressed yet atthe same time is fighting new battles in the same war.

top 10 (in alphabetical order):

“American Splendor”

A highlight of Sundance ’03 was cheering for Harvey Pekar, his wife Joyceand their daughter Danielle after watching Shari Springer Berman and RobertPulcini’s masterful depiction of this damaged but resilient American family.

“Finding Nemo”

Like many of the creatures at the heart of Disney animated tales, Nemo is afish on a mission. Going along for the ride as he grows up and ultimatelymakes it on his own is pure fun.

“Kill Bill”

Lacking a background in the Asian cinema that influenced Tarantino, Iinstead relied on my experience with “Looney Tunes” cartoons as I watched“Kill Bill.” Perhaps to the dismay of some in the audience, I laughed a lot.

“Monster”

I couldn’t help but think of Barbara Ehrenreich’s book “Nickel and Dimed” asI watched Charlize Theron incredibly embody Aileen Wuornos. Yet the pain andviolence of Ehrenreich’s stories are mere preludes to the downward spiralWuornos encounters as she lashes out in the second half of Patty Jenkins’powerful first feature.

“My Architect”

Balancing a determination to better understand his estranged father (notedarchitect Louis Kahn) with an appreciation of buildings, director NathanielKahn offers a sharp look at both architecture and paternal relationships.

“Mystic River”

An engaging story, well told, “Mystic River” is simply the best drama tocome out of Hollywood this year, with one of Sean Penn’s two remarkableperformances in 2003 (the other being his role in “21 Grams”).

“Raising Victor Vargas”

Picking up where their acclaimed short film left off, Peter Sollett and EvaVives have created the indie movie of the year, a little film with a lot ofheart, a wonderful script, and a terrific cast of actors.

“Shattered Glass”

I was on the edge of my seat throughout “Shattered Glass,” horrified at theaudacity of Stephen Glass. Peter Sarsgaard shines as the editor who trustsand ultimately confronts the manipulative writer.

“The Station Agent”

Peter Dinklage, Patricia Clarkson, and Bobby Cannavale are stellar as threeisolated people who find each other and find support in Tom McCarthy’s “TheStation Agent.” It’s just one of three solid movies from SenArt Films thisyear, alongside docs “Stevie” and “The Fog of War.”

A handful of the most chilling moments on the big screen this year. Thatnun’s reflection in an eye that’s encrusted with blood? Mindblowing.

“American Splendor”

I’m not a comic book fan in the least, but this wildly inventive film was sogood that it almost made me a convert. I found myself smiling not only atthe subject matter, but also the endlessly creative ways that Shari SpringerBerman and Robert Pulcini brought Harvey Pekar to life.

“Capturing the Friedmans”

Hands down, the most thought-provoking film of the year.

“To Be and To Have”

A movie that made the world seem a little less scary. Without being sappy.

“The Station Agent”

Tom McCarthy’s first film doesn’t feel like a first film at all — itfeatures sharp writing and editing and astounding performances from PeterDinklage, Patty Clarkson, and Bobby Cannavale.

“The Weather Underground”

A must-see film in our mostly apathetic times.

“The Real Cancun”

Yes, I’m serious. Gloriously shameless entertainment. And we all need a doseof that sometimes.

A poor gay Brit poses as a rich gay Brit and is adopted by swinging,constantly copulating aristocrats in the ’70s. This brilliantly triptychvision is based on the director’s own actual capers.

“21 Grams”

A puzzle film, that as the pieces fall together, creates a pulverizingpicture of a modern word with hope of spiritual solace. The entire cast issuperb as flawed humanity.

“Lawless Heart”

A gay man dies — not from AIDS — and his aftermath is told three times:once through his lover’s eyes, once through his homophobic brother-in-law’s,and once through his self-indulgent best pal’s. Witty, emotionally brutal,and ever so wise.

“Since Otar Left”

Three generations of women living in Tblisi await the return of theirson/brother/uncle who’s working as a clandestine laborer in Paris. They havea long wait since he’s dead. Ninety-year-old Esther Gorontin gives theperformance of the year here as the woman who loves her out-of-town childmore than life itself.

“Crimson Gold”

The truly brilliant opening focuses on a pizza delivery man robbing ajewelry store and making a fatal muck of it. The rest of this astoundingfeature about Irani haves and have-nots chronicles how he got so desperatein the first place.

“Hadassah Hospital”

An at times very funny, hopeful, and discerning doc about Arab and Israelidoctors treating Arab and Israeli patients in the same Jerusalem hospital.Often the suicide bombers lie near their victims, as do the soldiers and thecitizens they’ve wounded.

“The Station Agent”

Three losers of different heights connect and change each other lives forthe better.

“Suddenly”

Two tough Argentinean lesbians named Mao and Lenin kidnap a closeted,heavy-set girl, take her on a road trip, and then set her free in more waysthan you can imagine. Sort of a South American New Wave feature. Imagine anearly Godard with a queer bent.

“The Education of Gore Vidal”

If you adore wit and intellectual brilliance, this look at thenovelist/politician/actor/playwright supplies both in spades.

“Ford Transit”

An Arab van driver transports his Arab passengers from one Israeli roadblockto another as doc director Hany Abu-Assad records their political views anddaily strife. This film must be cherished for blowing up every stereotype wehave of Palestinians.

ANTHONY KAUFMAN

1. “Elephant”

#2-10 (alphabetical)

“Capturing the Friedmans”

“demonlover”

“Gerry”

“In This World”

“Japon”

“Medea”

“28 Days Later”

“21 Grams”

“Unknown Pleasures”

I would also like to add the opening scene of Peter Mullan’s “The MagdaleneSisters,” and runners-up “My Life Without Me,” “The Secret Lives ofDentists,” “El Bonaerense,” “The Station Agent,” “Sylvia,” “Spider,”“Raising Victor Vargas,” “Monster,” and some of the best documentaries ofthe last few years: in addition to “Capturing the Friedmans,” “The Fog ofWar,” “Bus 174,” and “Stevie”

Guilty pleasure: “X2: X-Men United”

Most Overrated: “Mystic River”

Most Underrated: “Friday Night”

Not yet seen: “The Lord of the Rings: The Return of the King,” “ColdMountain,” and the rest of the studios’ Oscar bait.

ANDREA MEYER

(in no particular order)

“Irreversible”

“28 Days Later”

“Swimming Pool”

“Thirteen”

“Lost in Translation”

“Mystic River”

“American Splendor”

“Camp”

“L’auberge Espanol”

“Cold Mountain”

The movie that made me laugh hardest all year was “Elf.”

Because it was an amazing year for documentaries and French films, here area few I love that could have/would have been on my list if I’d had moreroom: “Seaside,” “The Housekeeper,” “Carnage,” “demonlover,” “Cinemania,”“Stevie,” “Love and Diane,” “Capturing the Friedmans,” “Only the StrongSurvive,” and while it’s not French or a doc, “City of God” deserves to bementioned here somewhere.

NICK POPPY

Top 10 docs of the year

It was a very good year for documentaries. Of course, there are many morevery good films, including hundreds that will never see the inside of atheater. That’s a massive pity, but perhaps such a bumper crop will helpchange exhibitors’ minds about the marketability of non-dramaticprogramming.

“The Fog of War”

“Love & Diane”

“Remembrance of Things to Come”

“Stone Reader”

“Capturing the Friedmans”

“Power Trip”

“The Revolution Will Not Be Televised”

“Balseros”

“Girlhood”

“Bus 174”

RAY PRIDE

Jeez, another great year for movies while the omens for the industry in allits large and small permutations grow ever more batty. So many wonderfuldocumentaries, so many mixes of documentary and fiction, so many voices fromaround the world.

“Lost in Translation”

The Sudafed-and-Johnny Walker mindset of the road warriors of thetwenty-first century; jetlag as Ecstacy; regret, longing and desire as woozynarcotics. Sofia Coppola’s shockingly mature postcard from the edge of theWest.

“Lilja 4-Ever”

Moodysson: the third great film from a young master. “Lost Highway” meets“Mouchette.”

“In America”

“I love what lives”: Djimon Hounsou as the full-throated avatar of gangling,unseemly beauty as it is passing darkly in an unspecified time: that is, achild’s memory, as in, two daughters of Jim Sheridan.

“Elephant”

Life is but a scream.

“Angels in America”

Saw it on Broadway. Mike Nichols and company surpass its weird, sprawlingimpact.

“The Station Agent” — Crisply acted and refreshingly sparse, and it didn’tstoop to sit-com sentimentality or self-conscious quirkiness to sell itself,unlike so many other U.S. indies.

“Elephant” — “Elephant” is a really good movie (but not the truly great oneit could have been), with much to be impressed by, most notably HarrisSavides’ stunning visuals and the rich, ambient sound design.

“Capturing the Friedmans” — Beautifully-structured (or shamelesslymanipulative, depending on your opinion), it captures the complexities oflife and the vagaries of truth better than any other film this year.

Haven’t seen: “Lord of the Rings: The Return of the King” (loved the firsttwo), “Porn Theater”

Note: I looked at last year’s list and was appalled at one of my choices:“The Hours.” I will forever bare the shame of thinking I liked that moviefor about 10 minutes (incidentally, the same 10 minutes during which I puttogether last year’s list). It must have been the painkillers I was taking.